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Slikarstvo priprate Zrza i bogosluženje Strasne sedmice / The fresco painting of the narthex of Zrze and the liturgy of Holy Week
(Univerzitet u Beogradu - Filozofski fakultet - Institut za istoriju umetnosti, Beograd, 2011)
Freske u priprati crkve Preobraženja manastira Zrza kod Prilepa (1368/1369) imaju nekoliko tema neuobičajenih za taj prostor i veoma retku ikonografiju. Sveti monasi u prizemnom pojasu objašnjavaju se kao tri kategorije ...
Studenica. An identity in marble
(Univerzitet u Beogradu - Filozofski fakultet - Institut za istoriju umetnosti, Beograd, 2011)
This paper discusses the nature and inherent symbolics of the material of choice of which the body of the chuch of the Virgin Euergetis at Studenica was fashioned. In view of Byzantine theological concepts deeply ingrained ...
Istorijski izvor i istorijsko-umetničko tumačenje - Bogorodičina crkva u Toplici / Written historical sources and art-historical interpretation: The case of the church of the Virgin at Toplica
(Univerzitet u Beogradu - Filozofski fakultet - Institut za istoriju umetnosti, Beograd, 2011)
Na osnovu analize iskaza posvećenog Bogorodičinoj crkvi u Žitiju Svetog Simeona iz pera Stefana Prvovenčanog, kao i kritičke rekapitulacije arheoloških nalaza i stavova iznetih u istoriografiji, u radu se ustanovljava ...
Newly discovered portraits of rulers and the dating of the oldest frescoes in Lipljan
(Univerzitet u Beogradu - Filozofski fakultet - Institut za istoriju umetnosti, Beograd, 2012)
On the facade of the church of the Presentation of the Virgin, in Lipljan, the damaged depictions of two rulers were discovered under a more recent layer of fresco mortar. The depictions can be identified as portraits of ...
Studenica - identitet u mermeru / Studenica: An identity in marble
(Univerzitet u Beogradu - Filozofski fakultet - Institut za istoriju umetnosti, Beograd, 2011)
U radu se razmatraju priroda i inherentna simbolika izabranog materijala od kojeg je sazdano telo crkve Bogorodice Blagodeteljnice (Evergetide) u Studenici. Imajući u vidu vizantijske teološke koncepte koji su bili duboko ...
On the donor's inscription of Prince Miroslav in the Church of St. Peter on the Lim
(Univerzitet u Beogradu - Filozofski fakultet - Institut za istoriju umetnosti, Beograd, 2012)
The Old Slavonic Cyrillic letters "o" and "x" written at the end of Prince Miroslav's inscription in the church of St. Peter in Belo Polje are not, as was earlier thought, an abridged invocation or an acronym. One should ...
The iconography of light. A possible interpretation of the decoration of a three nozzle lamp from Viminacium
(Univerzitet u Beogradu - Filozofski fakultet - Institut za istoriju umetnosti, Beograd, 2014)
This paper focuses on offering a possible iconographic interpretation of the decoration of a rare three nozzle lamp discovered in the ancient city of Viminacium, on the locality of a necropolis called Pecine, dated to the ...
The icon of the Theotokos from the Church of St. Nicholas (Rajko's Church) and the question of painting workshops in medieval Prizren
(Univerzitet u Beogradu - Filozofski fakultet - Institut za istoriju umetnosti, Beograd, 2016)
Based on stylistic and paleographical analysis, it can be safely concluded that the icon of the Theotokos from the Church of St. Nicholas (Rajko's Church) in Prizren was not created in the 14th century as previously believed. ...
Mural painting of littoral catholicon. List of fresco and observations about the different program of characteristics
(Univerzitet u Beogradu - Filozofski fakultet - Institut za istoriju umetnosti, Beograd, 2012)
This paper presents the iconographic program offrescoes in the Church of the Annunciation in the monastery of Gradac, in which there were a number of hitherto unrecognised sections that have now been identified It publishes ...
Stratigraphy of the wall paintings in the main church of the Praskvica Monastery
(Univerzitet u Beogradu - Filozofski fakultet - Institut za istoriju umetnosti, Beograd, 2014)
In the katholikon of the monastery of Praskvica there are remains of two
layers of post-Byzantine wall-painting: the earlier, from the third quarter
of the sixteenth century, and later, from the first half of the ...